Tuesday, February 28, 2017

Scarlett Johansson has been named Esquire’s Sexiest Woman Alive for the second time. She was first granted the title in 2006, and she didn’t seem thrilled at all. During that interview, ScarJo was aghast to learn about a British poll claiming she had the best female bum. Her response: “There are plenty of girls with nicer butts. There are plenty of girls who work harder for nicer butts. What about my brain?What about my heart? What about my kidneys and my gallbladder?”

Makeup artist Ashleigh Louer wanted to create a sultry, glowing, and beautiful makeup look on Dylan for this shoot. Perfect skin was her focus and she started by prepping with Avene Thermal Spring Water mist and mixed Embryolisse moisturizer with Dior Pro Youth Sorbet essence serum. She also prepped the eyes with Kate Somerville Line Release eye repair cream. Next, she mixed a little Charlotte Tilbury Wonderglow primer with Laura Mercier’s Radiance primer to make the base extra bright and glowy.

Sunday, February 26, 2017

Scarlett Johansson interview: 'I would way rather not have middle ground'

The star talks to Carole Cadwalladr about playing an alien in Under the Skin – Jonathan Glazer's low-budget sci-fi film set in Glasgow – and her role in the recent SodaStream controversy

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here is something very levelling about seeing a major Hollywood star walking past Primark. And not just any Hollywood star but Scarlett Johansson, twice crowned Esquire's "Sexiest Woman Alive", three times Woody Allen muse, Bafta winner, noted beauty. Yet, there she is, in her latest film, in a pair of stonewashed jeans and a fake fur coat, walking down a busy shopping street in Glasgow and, well, blending in. She looks normal. Ordinary, even. Strip a star of their Hollywood get-up, remove them from their Bel Air mansions, and it turns out that they look just like the rest of us.

Only Johansson is different. Theoretically, this is because, in Under the Skin, a low-budget sci-fi indie adapted from a Michel Faber novel, we know she's an alien. In reality, it's because we know she's Scarlett Johansson. We watch her prowling the outskirts of Glasgow, the in-between lands of industrial parks and council estates, looking for fresh man meat, and there is an eerie sense of alien universes colliding. Scenes include Scarlett Johansson on a bus. Scarlett Johansson being given directions to Asda. And Scarlett Johansson sitting in front of an electric fire in a council house watching Tommy Cooper on TV.

If I looked like Scarlett Johansson I’d probably understand her view on monogamy

The actress has said that monogamy is unnatural and hard work, but it’s more about demand, supply and opportunity

Tim LottFriday 24 February 2017 13.30 GMT

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carlett Johansson has said it “isn’t natural” to be monogamous. She claims it’s too much like hard work, and continues, “the fact that it is such work for so many people … proves that it is not a natural thing. It definitely goes against some instinct to look beyond.”

Friday, February 24, 2017

Johnson behind President Kennedy as they left the Hotel Texas, in Fort Worth, the day that Kennedy was assassinated.Photograph from Houston Chronicle / AP

Friday, November 22, 1963, began for Lyndon Johnson in Fort Worth, with the headline he saw on the front page of the Dallas Morning News:“yarborough snubs lbj.”

Johnson, accompanying President Kennedy on a tour of Texas, had been given an assignment that the President considered vital: since a unified Democratic front in the state would be needed to carry it in 1964, the Vice-President had been made responsible for healing the bitter Democratic Party rift between Governor John B. Connally, a former Johnson assistant, and Senator Ralph Yarborough, the leader of the Party’s liberal wing. The previous day, however, Yarborough had refused even to ride in the same car as Johnson. Assigned to accompany the Vice-President during a Presidential motorcade through San Antonio, the Senator had gotten into another car instead, and, in a procession in which the other vehicles behind the Presidential limousine were packed with people, Johnson and his wife, Lady Bird, had had to sit conspicuously alone in the back seat of their convertible.

Thursday, February 23, 2017

Joyce Carol Oates: 'I had a dream about a woman whose make-up was dried and cracking, she made a fool of herself'

The American author talks about writing, widowhood and the dream that turned into her latest novel, Mudwoman

Interview by Tim AdamsSunday 26 February 2012 00.01 GMT

American author Joyce Carol Oates, 73, published her first book in 1963 and has since written more than 50 novels as well as short stories, poetry and plays. She lives in Princeton, New Jersey, whre she has taught since 1978.

Your new novel, Mudwoman, is about a woman, abandoned on a rubbish tip as a young child, who goes on to become president of an Ivy League university. It has a kind of mythic, subconscious quality; is that how you see it?

Unusually, it did come that way. I was at the Edinburgh festival some years ago and one night I had this dream about a woman who had put way too much make-up on her face and it had dried and cracked and she made a spectacle, a fool of herself. She seemed to be someone at a university with an exalted rank. When I woke up the image seemed quite profound to me. I wrote five or 10 pages very excitedly. I always wanted to go back to find out who the woman was.

ALDOUS HUXLEY

Aldous Huxley may be best known for his iconic 1932 novelBrave New World, one of the most important meditations on futurism and how technology is changing society ever published, but he was also deeply fascinated by children’s fiction. In 1967, three years after Huxley’s death, Random House released a posthumous volume of the only children’s book he ever wrote, some 23 years earlier.The Crows of Pearblossom tells the story of Mr. and Mrs. Crow, whose eggs never hatch because the Rattlesnake living at the base of their tree keeps eating them. After the 297th eaten egg, the hopeful parents set out to kill the snake and enlist the help of their friend, Mr. Owl, who bakes mud into two stone eggs and paints them to resemble the Crows’ eggs. Upon eating them, the Rattlesnake is in so much pain that he beings to thrash about, tying himself in knots around the branches. Mrs. Crow goes merrily on to hatch “four families of 17 children each,” using the snake “as a clothesline on which to hang the little crows’ diapers.”

Classic children's library: teens

One minute they are children, the next they are adults. One minute they are reading Frances Hodgson Burnett and the next Angela Carter. Five years ago, most bookshops didn't even have a young adult or teenage section. Now they are bursting to the seams with TV tie-ins and spinoffs and fantasy horror novels. More encouragingly, the last few years have also seen a huge increase in quality writing for young people. Writers such as Melvin Burgess and Phillip Pullman are not simply writing bridging books, but novels that stand alone in their own right and deserve to win prizes in any category of fiction. From these books it is no leap at all into the big pond of adult fiction, merely a swallow dive.

Miffy creator Dick Bruna: 'Hello Kitty is a copy of Miffy. I don't like that at all'

Author and illustrator Dick Bruna died yesterday, at the age of 89. In celebration, here is an interview he gave in 2008 about how he came to create the £150 million rabbit.

Dick Bruna has already made tea and brought over biscuits, and now he leans forward from a chair in his airy, top-floor Utrecht studio. Spectacular white walrus whiskers twitch expectantly and behind a pair of oval spectacles, his eyes twinkle.

Sunday, February 19, 2017

Dick Bruna, creator of the Miffy books, talks about his life and work

Dick Bruna, the 80-year-old creator of miffy, the £150 million rabbit, leads a life of almost zen-like simplicity - or at least he would if it weren't for the Japanese groupies.

By Horatia Harrod4:01PM BST 31 Jul 2008

Dick Bruna has already made tea and brought over biscuits, and now he leans forward from a chair in his airy, top-floor Utrecht studio. Spectacular white walrus whiskers twitch expectantly and behind a pair of oval spectacles, his eyes twinkle. This man - Geppetto made flesh - does not look or behave like the head of a global empire worth about £150 million annually. But Bruna is not your typical multi-millionaire mogul. No, he's the creator of Miffy, the world's most popular rabbit (and think for a moment of the competition for that title: Br'er, Peter, Roger...), whose modest adventures have sold more than 85 million storybooks, been translated into 40 languages, and whose clean, simple little face (two dots for eyes, a cross for a mouth) is recognised throughout the world. Hers is the first gaze I meet when I walk into the arrivals hall at Amsterdam airport, staring blankly from a shiny helium balloon. Later, I see her on pencils and building blocks, fridge magnets and school satchels, stitched together in plush and, most spectacularly, cast as a gold-plated statue.

Saturday, February 18, 2017

'If I am going to write about people who are kind and generous and loving and thoughtful, so what?'

Susanna RustinFriday 10 June 2011 10.05 BST

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hen Ann Patchett decided to set her sixth novel in the Amazon, she called up her editor on the glossy magazine Gourmet, and asked him to arrange a trip.

"I really wanted to be on a boat but they couldn't find the right boat in Brazil, it was either a cruise ship which I didn't want or a raft with cockroaches which I didn't want. I wanted something very small but nice and they found it in Peru, it was called the Aqua and I think it had a dozen rooms and it was absolutely gorgeous."

Friday, February 17, 2017

'Writing is the best rush I've ever found. I'm utterly, hopelessly addicted to it. I go into a kind of dream every day'

Interview by Richard GrantSaturday 28 February 2009 00.01 GMT

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ife, says TC Boyle, "is tragic and absurd and none of it has any purpose at all." He is sitting contentedly with a glass of wine in the west room of his Frank Lloyd Wright house in Montecito, California. "Science has killed religion, there's no hope for the future with seven billion of us on the planet, and the only thing you can do is to laugh in the face of it all."

T Coraghessan Boyle, as he used to call himself, has always enjoyed making mincemeat of conventional pieties. He emerged in the 1980s as a satirical novelist and short-story writer with a black sense of comedy and an exuberant prose style. He dressed like a rock star, and his self-chosen middle name, pronounced Cor-rag-essan, sounded like a battle cry. In 1993 he gave a famous free reading in Central Park with Patti Smith, and today, at 60, with 12 successful novels and a 750-page volume of short stories lined up in hardback on the burnished redwood shelf above his fireplace, he still looks like a punk Mephistopheles.

The house is a low, spreading, cruciform structure of redwood and glass, built in the prairie style with a Japanese influence, and Boyle's latest novel, The Women, is about its architect. "I really didn't know much about Frank Lloyd Wright when we bought the house in '93. Living here, I got curious and started reading about him and found out what a bizarre, outlandish character he was, with all this incredible turmoil in his personal life, and I knew I had to write about him."

Architecture is touched on in The Women, but the novel's main concern is Wright's scandal-racked love life and how it was experienced by the four women involved. "All the events in the book are taken from the newspaper accounts and biographies, and I really put my soul into trying to keep the details accurate," Boyle says. "Where the fictional process is at work is when I enter the heads of the characters and imagine what they were thinking, and why they did what they did." He based his main narrator, a Japanese apprentice called Tadashi Sato, on the many international architecture students that Wright charged for the privilege of doing his cooking and cleaning, and who were required to obey all his commands without question.

Wright's first wife was the long-suffering Kitty Tobin. They married young and had six children, and then he fell in love with one of her best friends, an early feminist called Mamah Borthwick Cheney, who was also married with children. Publicly announcing their freedom to follow their hearts and hounded by the press, Frank and Mamah went off to live together at Taliesen, a shimmering country estate in Wisconsin that Wright built as his own private utopia. In 1914, while Wright was away on business, Mamah was murdered there by a crazed manservant with an axe. In the same rampage, he killed her two visiting children and four other adults, wounding two more and setting a fire that burned Taliesen almost to the ground.

The next woman in his life was Maude Miriam Noel, a passionate, morphine-addicted Southern belle, and for Boyle, the most enjoyable character in the novel to write. "Miriam was beautiful, delusional, heartbreaking, and she did all these wild, insane things which to her made perfect sense. She came to dominate my life and the book because I found it so interesting being inside her head."

After she left Wright, and he realised he no longer wanted her back, Miriam became consumed by vengefulness and spent the rest of her life trying to destroy him with increasingly deranged lawsuits, criminal complaints and media campaigns. Wright, meanwhile, had taken up with Olgivanna Milanoff, a statuesque Montenegrin beauty and follower of the Russian mystic Gurdjieff, who bore him two more children and became known as "the Dragon Lady" among the coterie of apprentices at the rebuilt Taliesen.

"Wright was a classic narcissistic personality," says Boyle. "The kind of person who doesn't care what other people want, or who they are, and can't even imagine that they might have emotions and desires of their own. Other people existed only to serve his needs, and I find that fascinating in a cautionary way."

Frank Lloyd Wright is not the first domineering genius to move from the pages of history into a TC Boyle novel. That distinction goes to John Harvey Kellogg, the inventor of corn flakes, who was the subject of his 1993 novel The Road to Wellville and the film of the same name. Then came the sex researcher Alfred C Kinsey in The Inner Circle, published in 2004. "I suppose the three of them do make a trinity, although I didn't realise it when I started on Wright," Boyle says. "They're the great egomaniacs of the 20th century. I don't think any of them would have made a good companion, let alone a husband, and if the three of them had ever met, they probably would have killed and eaten each other."

All three surrounded themselves with acolytes whom they abused in various ways, and all three were genuine visionaries, who permanently changed the way we see personal health, sex and the possibilities of architecture. "The most bizarre was certainly Kellogg with his enema regimes and his crazed health-food obsessions, but he also had some good ideas - that we should eat less meat, take exercise and get fresh air. Kinsey was essentially a sexual predator who was bisexual at a time when that couldn't be admitted, especially in his position as a respected professor of sex research. And Wright was a con man and he had to be. For me to make my art, all I need is a room, a computer or a typewriter and a ream of paper. For him to make his art, he had to convince a patron to lay out all this money, and it was never enough for what he wanted to do."

Wright had very few repeat clients, and it wasn't just because of financial chicanery. "He was so much of a control freak that he hated the idea that someone was going to move into his house, bring in their baggage and ruin his beautiful design. In a couple of cases he got all his own furniture made for a house and even designed the clothing of the housewife. It's like a kid playing with a dollhouse and manipulating figures who aren't really human."

Similar criticism has been levelled against Boyle's fiction. "Boyle is not psychological," Lorrie Moore has written. "He's all demography and zeitgeist." The critic Bill Seligman has argued: "[He] can write and he can imagine, with more energy than any of his contemporaries. But energy isn't enough; there's only so far you can go on sheer technique. And until he goes further, he'll remain a satirist cut off from the oxygen of morality."

He has been accused of lacking proper sympathy for his characters and taking too much pleasure in heaping calamities on them and watching them squirm and flail. "It's my universe, and by god they're going to suffer," Boyle says with a laugh. "Look, when I write funny, satirical stuff, I get criticised for not being serious. When I write moving, naturalistic stories, I get criticised for not being funny."

More broadly, he's been denigrated as an entertainer, a crowd-pleaser and laugh-getter, and to this he pleads enthusiastically guilty. "If we lose sight of the fact that writing is entertainment, then writing is doomed. Books are up against TV and movies and video games and a multimedia society that is so busy that people don't have contemplative time any more. I worry deeply about this. In fact I worry about everything all the time. I used to be a punk. All I wanted to do was tear everything down, and that was so much easier."

Boyle grew up in the leafy suburbs of Westchester County north of New York City. Born in 1948, he was a child of the 1960s and alcoholic parents. When he was young, he tried particularly hard to please them, as the children of alcoholics often do, and then at 15 he rebelled, rejecting Catholicism and embracing vandalism, alcohol, drugs, maniacal driving and the writing of Aldous Huxley, JD Salinger and Jack Kerouac. At 17 he arrived, saxophone in hand, at a small liberal arts college in Potsdam, New York, intending to study music and become a musician. He failed the audition and signed up instead for history and English, which had been his only good subjects at high school.

"One of the classes was the American short story, and that's where I discovered Updike and Bellow and Flannery O'Connor, and it really changed everything. Then I got into black humour, Beckett and John Barth and Robert Coover, and the Latin Americans like García Márquez and Borges, and it was all a big inspirational stew that kept getting stirred. Then I blundered into a creative writing class and here I am."

It wasn't quite that simple. There was a weekend heroin habit that lasted two years until a friend overdosed and scared him into cleaning up, which took another two years and a lot of pills and alcohol. He wrote a story about his heroin experiences called "The OD and Hepatitis Railroad or Bust", which was published by the North American Review. That inspired him to apply to the Iowa Writers' Workshop, where so many of his literary heroes had studied, or taught, or both. He was accepted on the strength of that one story.

"Iowa is like a conservatory for writers instead of musicians. You go there to study with a master and that master may impart nothing to you, or he may be your coach and push you on your way, and you take your chances. I had three teachers - Vance Bourjaily, John Irving and John Cheever - all of whom were extremely generous to me and essentially said what I needed to hear: you've got talent, you're on the right track, keep it up. I got time to learn, and time to write, and be in a place where writing is revered, and so many great writers came through there to read their work and stumble around drunk."

He spent five and a half years at Iowa and left with a degree in creative writing, a PhD in 19th-century British literature and a friendship with Raymond Carver. "He was a very unpretentious, shy, demon-haunted and beautiful man, and I admired him greatly." Carver was the leading short-story writer of his generation, well known for his bleak, minimalist style. Boyle yearned to emulate him but his style was already in the opposite camp - hectic and garrulous, full of quips and asides - and when he left Iowa, he hurled himself into a novel, writing in the morning for four or five hours, seven days a week.

That first novel was Water Music, a picaresque comedy about the 18th-century explorer Mungo Park, published in 1981, and Boyle has been working to the same schedule ever since. Despite the pessimism of his worldview, he counts himself as a happy and fortunate man, and this is because he takes such pleasure in his daily hours of writing. "It's the best rush I've ever found and I'm utterly, hopelessly addicted to it. I go into a kind of dream every day. It's wonderful."

He writes in his study upstairs, always to music - "gloom, rain and suicidal cello concertos are best" - or in a remote house in the mountains of northern California, where he sequesters himself for weeks at a time, hiking, snowshoeing and fishing in the afternoons. Like so many contemporary American writers, he also teaches creative writing and is currently professor of literature at the University of Southern California, with a very light teaching burden.

"I have this wild-man image and I am a little crazy," he says. "But at the same time I'm a tenured professor, hardworking and diligent and a good family man. Karen and I have three grown children and I must be the only American writer of my generation who has had only one wife."

Unlike Frank Lloyd Wright, who required chaos and tumult to create his art, Boyle needs calm and order, a good dog and a restful night's sleep. He begins his novels in a burst of creativity, slows down in the middle as he works out the irksome problems of plot and theme, and then, with the end in sight, goes into a frenzy to reach it. "I'm too exhausted at that point to begin another novel, so I write short stories instead. And when those peter out, it's usually time to begin a new novel. It's a good cycle for me. It keeps me from having that horrible blockage and downtime that so many novelists have after finishing a project."

A new collection of his stories, Wild Child, will be published next year, and he has amassed another volume of his lifetime collected stories. This summer he hopes to complete his 13th novel, about ecological restoration in the Channel Islands off the California coast. "More and more what I write about is man's relationship to nature, and my take on it is extremely depressing," he says. He tackled climate change and ecological collapse in A Friend of the Earth, published in 2000, and now he has even less hope that an apocalyptic future can be averted. "I think it's going to turn out like Cormac McCarthy's The Road within 50 years. We'll eat everything left to eat and then we'll eat each other. But my plan, personally, is to die. That's how I'm going to deal with it."

Boyle on Boyle

None of the doctors could help her in Los Angeles or the provincial outpost of San Diego either, little people all of them, sniveling types, handwringers, an army of effete bald-headed men in spectacles who were mortified of the law - as if this law had any more right to exist than Prohibition, because who was the federal government to dictate what people could and couldn't do with their bodies, their own minds, their personal needs and wants and compulsions? Were they going to regulate needs, then? Dole them out? Tax them? Miriam was so furious, so burned up and blistered with the outrage of it that she must have been overly severe with the cabman - the driver with his hat cocked back on his head and his trace of a Valentino moustache - because when they got to the border at Tijuana, he stopped the car, turned around in his seat and demanded payment in full. Insolently. Out of insolent little pig's eyes.

• From The Woman, published by Bloomsbury

"This is my first chance to deeply inhabit a close third-person point of view of Miriam, the crazy harpie wife who would ultimately try to destroy Frank Lloyd Wright. She is clearly outraged about something but the reader doesn't yet know what it is. Miriam, my favourite character in the book, is a woman with multitudinous problems, but here, as I introduce her, her problem is very simple. She needs morphine."